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Introduction: What Is Texture? | |
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A Handkerchief in Bed Can't Be Found | |
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What You Can Expect from This Book | |
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What You Should Know | |
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What You Will Need | |
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About This Book's Approach to Software | |
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A Final Word | |
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The Fine Art of Seeing and Dissecting | |
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Exercising Your Artistic Eye | |
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Take an Art Class | |
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Look Around | |
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The Benefits of Exercise | |
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Materials and Textures Defined | |
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The Art of Interviewing: Working from Macro to Micro | |
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Identify the Object: What Are You? | |
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Identify the Most Important Feature: What Is Your Essence? | |
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Identify the Material: What Are You Made Of? | |
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Identify the Light Source: How Can I See You? | |
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Identify the Location: Where Are You? | |
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Identify the Appearance: What Do You Look Like? | |
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Identify Tactile Quality: What Do You Feel Like? | |
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Identify the History: What's Your Story? | |
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Become Attuned | |
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Exercises | |
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Reference Materials, Textures, and Practical Stuff | |
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Basic Materials | |
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Basic Textures | |
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Creating a Morgue | |
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Your Own Photographs as Reference | |
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Magazines as Reference Sources | |
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Other Reference Gold Mines | |
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Photo Gallery | |
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New York Brick Bundle | |
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South of France Water Trough | |
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Green Painted Door | |
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University Avenue Near Twilight | |
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An Office Door | |
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Restaurant Wall | |
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Look and Collect | |
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Exercises | |
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Color Theory | |
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Additive Color Mixtures | |
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Subtractive Color Mixtures | |
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Color Qualities | |
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Hue | |
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Saturation/Intensity | |
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Value/Brightness | |
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Color Schemes | |
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Complementary Colors and Compositions | |
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Triadic Palettes and Compositions | |
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Analogous Palettes and Compositions | |
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Monochromatic Palettes and Compositions | |
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Warm and Cool Colors | |
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Colors--Psychology and Physiology | |
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Red | |
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Orange | |
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Yellow | |
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Green | |
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Blue | |
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Violet/Purple | |
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White | |
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Black | |
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The Practical Side | |
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Study Paintings in Museums | |
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Exercises | |
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Paintings | |
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Evolution of a Style | |
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Subjects that Inspire | |
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The Paintings | |
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Morning Sun Edward Hopper (1952) | |
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Poor Artist's Cupboard Charles Bird King (1815) | |
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The Old Cupboard Door William Michael Harnett (1889) | |
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Sumptuous Still Life with Parrot Jan Davidsz de Heem (1660) | |
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Woman 1 Willem de Kooning (1950-52) | |
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Young Woman with a Water Jug Johannes Vermeer (1660-67) | |
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Wiesental--Grassy Valley Gerhard Richter (1985) | |
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Princesse De Broglie Jean-Auguste-Dominique Ingres (1853) | |
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Nicolaes Ruts Rembrandt Harmensz Van Rijn (1631) | |
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Bouquet of Garden Flowers in a Pitcher Johann Wilhelm Preyer (1831) | |
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Blond Girl, Night Portrait, Lucian Freud (1980/85) | |
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Study and Question | |
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Exercises | |
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Making Decisions | |
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Ask the Right Questions | |
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The Questions | |
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The Project | |
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What Pre-Production Materials Are Available? | |
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Bibles | |
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Pre-Vis Movies | |
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Storyboards and What to Ask from Them | |
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What Pre-Pro Materials Do I Have to Work With? | |
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Which Style Is Appropriate? | |
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Realistic | |
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Hyper-Real | |
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Stylized | |
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Simplified | |
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Graphic | |
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Fantastic | |
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Get the Client's Impressions | |
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Who Is the Target Audience? | |
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What Is the Intended Medium? | |
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TV | |
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Film | |
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Web | |
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Print | |
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CD-ROM Games | |
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Do You Have All the Information You Need? | |
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The Project: Technical Preparation | |
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Texture Mapping Concepts | |
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Color | |
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Transparency | |
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Specularity | |
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Luminance | |
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Reflectivity | |
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Bump | |
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Displacement | |
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That's Not All Folks | |
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General Concepts | |
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The Bandana: A Simple Tile and Scanned Texture | |
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Applying the Texture to the Geometry | |
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Rendering and Shading | |
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Steel Braided Hoses: A Small Tileable Texture | |
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Making the Pattern | |
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Texturing the Tile | |
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Creating the Bump | |
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Shader and Final Texture Maps | |
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The Tire: Adding Detail with Displacement Maps | |
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Pre-Production | |
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Making the Displacement Map | |
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Creating the Tile | |
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Color Map | |
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Bump Map | |
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Shader Stuff | |
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Axle's Face: Texturing Polygons | |
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Preparing Polygons for Texturing in 3D | |
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Pre-Production | |
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Creating the Bump Pattern | |
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Creating the Color Map | |
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Final Maps | |
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Shader Stuff | |
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The Goggles: Procedural Textures | |
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The Strap | |
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Shader Stuff | |
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The Casing for the Lenses | |
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Adding a Dirt Layer Using a Layered Shader | |
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The Mask | |
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Creating Color Variation | |
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Creating Dust Using Snow | |
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The Lenses | |
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Adding a Dirt Layer Using a Layered Texture | |
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Adding Iridescence | |
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Shader Stuff | |
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The Car Body: Complexity of Texture | |
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Pre-Production | |
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Color Map | |
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Making the Decal | |
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Making the Panels | |
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Final Maps | |
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Shader Stuff | |
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The Fin: Texturing Uneven Surfaces | |
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Pre-Production and Design | |
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Placement of Axle's Logo | |
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Placement of Side Graphic | |
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Final Maps | |
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Final Render | |
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Shader Stuff | |
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Axle's Chest: Sculpting, Painting, and Projections | |
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Pre-Production | |
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Creating the Sculpey Texture | |
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Painting the Sculpey Imprint | |
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Shader Stuff | |
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Projections Across Many Surfaces | |
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Lugz Commercial Power Station: Projection on Multiple Surfaces | |
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Preparing the Texture | |
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Applying the Projection to All the Surfaces | |
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Wrap-Up: Some Things to Think About | |
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Now That the Project Is Done | |
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Your Place in the Pipeline | |
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Modeling | |
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Effects | |
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Animation | |
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Lighting | |
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Rendering | |
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Compositing | |
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Final Thoughts | |
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Reading List | |
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Index | |